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Imagine the beauty of a peak time Sade production in the days when pop could be massive and inventive, with some Sly & Robbie voodoo magic from their 80's pop production. Imagine if the brilliance of an Andrew Weatherall remix in the 90's could meet with the melancholy of Roedelius. Summer is officially here. Deal with it and get loose with this one.

RAVEDIT presents dance/pop music in the style of Rian Treanor. Across four radical edits, familiar and obscure ohrwurms are dissected and flipped in thrilling new ways, rendering razor sharp
and playfully nutty updates of Pakistani film music, Eurodance set-pieces and seminal synth-pop classics.
Rian extracts and accentuates their hooks in series of jabbing, asymmetric reductions for the 'floor with results intended to rewire muscle memories and inject the club with a healthy dose of
advanced daftness. In each part Rian exerts a singular spin on timeless evergreens, demonstrating his roots in hip hop and UK dance music's sampling cultures, while exemplifying an inexorable, personalised push for new patterns of dancefloor possibility.
All material has been thoroughly disruptive in a variety of situations, from midsummer rites at IMMA to Radio 1Xtra to freak raves in Salford and, most recently, as part of Rian's Boiler Room
performance in Helsinki, the latter of which drew opposing criticism from its YouTube viewers; prompting Wayne Cloete to remark 'what do you call this cos it aint music its like a production
that went wrong or still trying to figure out the beat', whereas Viktor Štech claimed Rian to be a 'genius with rhythm.' To be fair they're both right, but only one of them knows it.
Basically the A-side is mental party fuel - especially if you like alcopops, Lollywood soundtracks or Ferris Bueller's Day Off - while the B-side turns 3 mins of '80s pop brilliance into a 14 minute+ monster cannily riffing on the idea of deferred gratification.

Monrella aka Mick Harris, the man that invented the blast beat and one of the most crucial members of the seminal band Napalm Death. He experimented with a lot of styles of music afterwards (notably, Scorn, Lull and Fret) but back 1996 he took the template of Detroit techno, added some Birmingham grit and Monrella was born. Proper Birmingham motor funk straight from the House Of God (seminal Birmingham club night) school of debauchery. Remastered and ready to continue its journey, slaying dancefloors.

Initially released as an interactive app in which the viewer directed the narrative - Mosaic is a six-part HBO series conceived and directed by Steven Soderbergh and starring Sharon Stone. Mosaic is a twisting tale of passion, intrigue and deception focusing on the disappearance of a high-profile resident of picturesque Summit, Utah and the four-year effort by law- enforcement and civilians to discover the truth behind the crime.

With that in mind, Mosaic's original soundtrack weaves as intriguing a tale. Recorded between Belfast and Los Angeles by Holmes, the album features a modern-day Wrecking Crew of musicians. Echoes of Maestro Morricone abound alongside the influence of avant-garde pioneers and Holmes' current soundtrack contemporaries in a selection of deep listening tracks.

To quote Mark Kermode, 'Mosaic' outlines Holmes' expertise at 'ratcheting up the tension' with strings, horns and synthesizers swelling throughout. As this tension peaks there is inevitable release - in rhythmic and harmonic tracks such as 'What I Want Is The Red Room' and Badalamenti-esque lounge eeriness in the likes of 'Four Years Later' - guiding the 20 cues presented on this release into a cohesive, full and nuanced album that reveals subtle and rewarding intricacies on each repeated listen. 'Mosaic' once again outlines Holmes as a modern master of the original soundtrack.

Following the release of lo-fi electronic masterpiece I Don't Remember Now / I Don't Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982.


While all of Bender's work draws from intimate home recordings - featuring the artist alone with various keyboards, analogue sequencers and tape delays - Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the "pop" concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.


Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia's classic '70s style.


"I pressed a single run of 500 copies," Bender recounts. "The only review I remember railed at the poor production quality. The DIY era had clearly come to an end."


This first-time standalone reissue is recommended for fans of Suicide, TG's 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

12 Vinyle in jweils bedruckten Innentaschen (weiß mit schwarzer Heißfolienprägung) im zweiteiligen Hardcover-Schuber (weiß mit schwarzer Heißfolienprägung), inkl. Download-Code.

3 Vinyle In Bedruckten Innentaschen In Extra Breitem Cover-sleeve, Inkl. Dowbload-code.

A repress and repackaging of the modern classic psych-rock/American gospel fusion opus.

With special guest collaborator guitarist Bill Frisell. Featuring the exclusive vinyl only bonus track : 'Junkyard Priest' (with Milky Burgess on slide!).

The audio was specifically mastered for vinyl and lacquers were cut by Bob Weston.

Drew McDowall and Hiro Kone's collaborative record "The Ghost of Georges Bataille" induces a state of suspense via sonic seance. Conjuring the sentiment of death as productive force, the artists join their analog paradigms to open a door elsewhere, or perhaps, inside - sublimating personal struggles into ritualistic offerings. Churning, cinematic, and pulsating with an organic sentience - The Ghost of Georges Bataille invites an undeniable presence into the consciousness and lulls both collectors and the newly inducted alike into catharsis - with the hairs on their arms standing up. Not for the casual listener.

'A glistening field of sport / Mylar turf sucking up to the feet of the future athlete / No noise from the crowd / Hypoextinct brain waves peak at nominal levels / Mouths hang as they watch the rehearsed games unfold. 'Across megalopolis / Handshakes between men and machine / Ply for future rations /Every man for himself
that isn't under the spell of the government's mind whip /
Signals wash out over haphazardly stacked neighborhoods
as they sleep / Investing, convincing, planting memories /
Fabrication of emotion.
'And even farther still / Past the snicker-snack of the
city's air intake fans /A humming drone passes over the
green grey canopy of the last forest / The no man's land /
Scanning for heat traces and human sound / Looking for the
resistance with its red pin-prick eye.
'In the moments between search and seizure / The rebels
eat from the forest floor /They climb trees, they commune
with the animals / They live life, they stare out to the ocean,
past the shanty skyscrapers/ The last frontier.
'Sean Smith soundtracks all these thoughts in my mind's
eye / His synth and guitar layered music is the signal / It is
the force field, refracting light / It is the chemtrail drifting
down like slow motion party glitter / From the heavens
settling like moon flakes on the roofs of the cards / On the
debris / On the upturned faces of the rabble.
'It is beautiful imagination at its best.' —John Dwyer

Intra is Mark Fell's fascinating study in computer generated rhythm, performed by Drumming Grupo De Percussão on the Sixxen metallophone system: a set of six microtonally tuned instruments originally conceived by Iannis Xenakis for use on
Pléäides (1976).
Commissioned by Porto's Fundação de Serralves, the eight-part Intra develops from Fell's Focal Music series and his projects with Indian Carnatic musicians. It probes the perceptive difference between ideas of simplicity and complexity by instructing acoustic
instrumentalists via electronic triggers relayed through eadphones. an idea previously explored on the Time and Space Shapes for Gamelan (Sheffield, 2017) installation Fell made in collaboration with Laurie Spiegel, as well as earlier collaborations between Fell
and noted virtuoso improvisors Okkyung Lee, Laura Cannell, Sandro Mussida and Aby Vulliamy.
It is important to acknowledge Fell's ongoing interests in the systems of Carnatic Music, the Southern form of Indian Classical music whose mathematical sound rules are practically inseparable from musical expression in a way that's difficult to comprehend
from a Western perspective. In terms of rhythm, Carnatic musicians perform within a set of rules, or Tala, whose seven structures each have five variations, resulting in 35 possible
combinations - many more than the usual Western structures of minor and major scales.
Heard in context of Carnatic systems, Intra becomes a crafty and even wittily playful piece of sound art, one which undermines deeply entrenched conventions and perceptions of music, both composed and improvised, generated and performed, in a way that's entirely pleasurable, even strangely soothing in its stilted trickle of off kilter tones.

One of the deepest reaching projects from the multifaceted Vibraphone stable resurfaces for an extended trip through ambient sonics that marks possibly the most daring departure on the esteemed Italian label to date. The harmonious tones undulating throughout Sketches From Space are instant soothers, taking the odd cue from techno but defiantly beatless and meditative. It's a surprising addition to the long and winding Vibraphone story, but also feels like one of the strongest steps forward the resurgent label has taken since returning to the fray. Just try sinking into "Lagrangian Point L4" and you'll see exactly what we mean.

First Terrace return with the second instalment of their split series, an ongoing project which sees the work of two artists illuminated in each other's light. Built on the acknowledgement that context alters perception, the light shone by the opposing track alters the shadow cast, the effect of the other. In answer to the forked road presented by FTS001, we chose the quiet path*. As such FTS002 is a journey softly travelled. These pieces will not leave a scar on the sonic landscape, rather glide above the tips of the reaching leaves, high on a different mission. Vida composed her pieces to be absorbed in complete darkness. They were exhibited as part of the project In the Dark in Berlin, 2016. The lack of visual stimulus enhances the listening experience, sharpens the ears. At the same time, the audience is made vulnerable, they cling to the sound as it is their only guide through this passage of time. More information on In the Dark can be found here. Chihei presents a new long form piece conjured with guitars and effected into abstraction. It is parallel in form to the ebb and flow of water over the margins of a beach, ever the same yet constantly renewed. *(this time)

Vast, expansive and introspective works utilising place-specific found sound on this second Cremation Lily LP for Alter. Contemplating mortality, illness and the perennial bleakness of British winter in a seaside town we find Zen Zsigo experimenting with piano, violin, synthesiser and walkman tape players. Layering field recordings of the Hastings shoreline atop druggy, stretched out 303 basslines and snippets of spoken word there seems to be an overarching thematic of memory and reflection at play. From vignettes of crumbling glass and bittersweet drones through to sprawling, semi-rhythmical pieces ('As a sea creature...') it seems as if Zsigo is trawling the coast for fragments of its former glory. The end result of his study manages to echo the work of Yoran, Leyland Kirby and even Jacob Kirkegaard yet the rare moments where he lays bare his own vocal narrative seemingly transforms In England Now, Underwater into sonic diary territory. Mixing salt-water soaked cassette loops with haunting, minimalist piano motifs and warped recordings of crashing waves and bird noise an intense atmosphere of Ballard's drowned world is evoked through sound.

Unusual Colour And Complex Microtonality Found In The Classical Music Of Iran / Blurts Of Noise, Sour Tones, And A Vaguely Technoid Or Dubwise Impression Expose The Inner Rhythm And Counterpoint Embedded In This Strummed Music / Emotional, Mathematical And Polyrhythmic Principles Underpinning Persian Music, The Record Reveals A Dramatic Blend Of Acoustic Persian Instrumentation And Contemporary Electronics. Sote Aims To Devise An Idealised Fusion Of The Musical Heritage And Tradition Of Iran With The Forward-thinking Vision Which Has Propelled His Storied Career Producing Techno, Hardcore And Computer Music For Labels Like Warp, Ge-stell, Morphine And Repitch. Now Living In Tehran, His Music Has Frequently Grappled With The Strict Cultural Restrictions Imposed In His Country Over The Past Few Decades, Finding A Space And Setting To Nurture New Developments In Experimental Sound And Performance. Working With Arash Bolouri Who Plays The Santour (persian Hammered Dulcimer), And Behrouz Pashaei On The Long-necked, Four-string Setar, Sote Frames And Responds To Their Traditional Artistry. On Occasions He Directly Manipulates The Music Emanating From Their Ancient Instruments, Cultivating And Thickening Up A Surreal And Beautiful Tonality Plucked From Their Strings With A Series Of Processing Techniques, But Mostly Each Track Is A Peaceful Arrangement And Partnership, Sote Electro-acoustically Augmenting Their Movements Within His Own Cybernetic Framework.

Inzwischen unter den Top-100-DJs der Welt, auf dem Cover vom DJ Mag angekommen und als - Australian queen of EDM' (ABC) gefeiert, steht Alison Wonderland mit ihrem zweiten Longplayer in den Startlöchern: - Awake' heißt ihr neuestes Werk. International gefeiert als EDM-Künstlerin, die verschiedenste Dance-Styles in ihren Sound einbezieht, den Faktor Pop nie aus den Augen verliert, dazu Instrumente beherrscht und singt, bewegt sich Alison Wonderland mit - Awake' durchaus auch auf Neuland: - Allein gesanglich bin ich viel weiter gegangen, weil ich mich heute einfach viel wohler fühle mit meiner Stimme', sagt die gebürtige Australierin, die mit dem Titel auf den reinigenden Effekt von Musik und überhaupt auf positiven Wandel im Privatleben anspielt. Gerade als Live-Performerin hat die auch gerne mal als - female Skrillex' gehandelte Alison Wonderland in den letzten Jahren alles auf den Kopf gestellt: Hunderte von Headline-Shows rund um den Globus, eigene Warehouse-Party-Serien, Riesenfestivals wie Coachella und Lollapalooza - dazu war sie die erste weibliche Solokünstlerin überhaupt, die auf der Main-Stage beim Electric Daisy Carnival in Vegas auftreten durfte.

A Site-specific Recording Sporting A Straightforward Approach That I've Grown To Love In The Works Of Gonçalo Cardoso. An Album Of Modern Day Exotica, A Genre I Usually Pretty Much Dislike, Yet Cardoso Steers His Vehicle Easily Aside The Trapdoors And Potholes.

Combining Found Sounds, Sparse Playing And Field Recordings He Creates A World That Both Invokes Treasure Island, And An Essay On Exoticism. Indeed Questions Are Raised. But Especially Beautiful Emotions Are Shared. Cardoso Acts Both Like The Journalist And The Aesthetic. Sometimes He Just Registers, As Being The Observer At The Sideline, Sometimes He Alters And Collages The Material Into New Worlds.

The Isle Of Unguja Is The Great Scene Of This Album. We Hear The Sound Of Water, Suddenly Interrupted By Beautiful Chorals Or The Strumming Of String Instruments, A Drum Beat. We Hear The Local Fisherman Talk While The Shortwave Radio Becomes The Symbol Of The White Man Seeking Truth And Direction In The Tropics. Its Dial As A Tool To Reflect. This Album Invokes A Certain Nostalgia For Age-old Enthnographies, Like A Romantic Letter From The Tropics. A Hymn Of Solitude, In Awe Of The Nonhuman And Human Elements. Like Photography, Through Various Compositions - Stills From A Moment - To Shed Light Upon The Unique - Universal Process Of A Place.

"all The Recordings Were Made During Our Month Long Stay In A Beach Hut In The Main Island Of The Zanzibar Archipelago, Unguja Aka Zanzibar Island. Unlike Other Beach/island Locations The Scenery There Was Very Dynamic And Ever Changing. The Colours Would Change With Every Tide Creating A New Washed Out Landscape Everyday.
There Are A Lot Of Recordings Of Tides (they Have 3km Tides Everyday!), Of Walking Around In Low Tide, Of The Tidal Waves Banging Against Our Hut At Night, Of Sailing In Wooden Dhows, Fishermen Talking And Sand Washing Their Dhows, Of Walking At Night In The Village As Well As Some Fm/am Radio Improvs. A Lot Of What You Hear Was Done On The Spot With Some Minor Adjustments Done Later. (g F Cardoso)"

Gonçalo Cardoso Is The Man Behind The Prolific Discrepant Recordlabel And Composes Under His Own Name And The Moniker Gonzo. He Recently Traveled In Middle And Southern America.

Michael Beharie (new York) And Teddy Rankin-parker (chicago) First Met More Than 10 Years Ago While Attending Oberlin College. Since Graduating, Beharie And Rankin-parker Each Veered Into Markedly Different Avenues. In Addition To A Consistent Output Of Solo Releases On Nyc-label Astro Nautico, Beharie Also Recently Joined Up With The Ever-confounding New York Ensemble Zs (northern Spy, The Social Registry, Troubleman Unlimited), Recently Performed On Albums By Laurel Halo, Greg Fox & Colin Self, And Is A Regular Composer For Dance And Film. Rankin-parker Became An In-demand Cellist For His Prowess In The Work Of Improvisation, Avant-garde Music, And The More Exploratory Realms Of Indie Pop, Lending His Talents To A Wide Array Of Bands And Collaborators, Such As Primus, Iron & Wine, Steve Reich, Pauline Oliveros, Glen Hansard, Father John Misty, International Contemporary Ensemble (ice), Chicago Sinfonietta, And Nicole Mitchell's Black Earth Ensemble.

Transcendentally Beautiful, The Space Lady's Music Is Returning To Earth. Transmitting Messages Of Peace And Harmony, The Space Lady Began Her Odyssey On The Streets Of Boston In The Late 70s, Then San Francisco Ten Years Later, Playing Versions Of Contemporary Pop Music With An Accordion And Dressed Flamboyantly. Following The Theft And Destruction Of Her Accordion , The Space Lady Invested In A Then-new Casio Keyboard, Complete With A Phase Shifter And Headset Mic, Birthing An Otherworldly New Dimension To Popular Song That Has Captured The Imaginations Of The Underground And Its Leading Exponents Ever Since Having Toured Successfully All Around The World With Her Greatest 90s Hits Record, She Felt It Was Time To Record New Songs... And So She Did!

2nd Album By Turkish Free Jazzers Konstrukt And The Japanese Avant-garde / Noise Icon Keiji Haino, This Time Recorded Live In Concert.

Celebrating Their 10th Anniversary These Days, Konstrukt Have Since Been Creating An Impressive Catalogue Including Collaborations / Performances With Significant Musicians Like Peter Brötzmann, Joe Mcphee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, Michael Zerang, Alfred Harth Or Alexander Hawkins That Gained Them An Ever Growing Audience And Media Attention (e.g. A Recent Wire Feature), And They Keep Exploring New Grounds. Like In 2016 When Konstrukt Invited Keiji Haino To Their Home Town Istanbul For A Recording Session That Resulted In A Quite Unique Album: "a Philosophy Warping, Little By Little That Way Lies A Quagmire" Offered - Besides All The Elements You May Well Expect From Such A Musical Meeting Like Konstrukt's "acerbic Razor-edged Sound" (mark Corroto, Allaboutjazz) And Haino's Unmistakable Voice / Guitar Explosions - Some Actual Surprises Like The Really Groovy Opening Track With A Funky Feel And A Kind Of 70's Fusion Style Album Closer. Two Days Later The Free Jazz Quartet And The Japanese Avant-garde Icon Continued Their Adventure With A Public Performance At Saloniksy, Pushing Things Further And Raising The Level Of Energy And Rawness. Carrying The Same Title ""a Philosophy Warping, Little By Little That Way Lies A Quagmire" Proves A Condign Sister Release To Their Previous Studio Effort. Or, As The Famous Asian Phrase Goes: "same Same But Different!"

Naschkatze duo was founded in late 2015 by two visual artists and musicians Farhad Farzali and Ali Hasanov. Naschkatze goes beyond strict genre and style definitions and boundaries; the producers/composers duo constantly works on expanding and developing their sound resources through research of the musical heritage of different cultures of the world, with a special source of inspiration definitely coming from the Caucasus.

'Dilber' is sourced from the samples of two songs - "Dilber" from the "Lak Songs" (*The Laks is an ethnic group native to an inland region in Dagestan, North Caucasus in Russian Federation) for baritone and chamber orchestra by Shirvani Chalaev with voice solo performed by the author, as well as the song Beautiful leaves fall by Thomas Korganov, performed by the Children's Big Choir of the All-Union Radio and Central Television of the USSR.

Several notable names of the contemporary electronic music scene - Ulrich Schnauss (UK), Johan Troch (BE), Nico Niquo (AU), Katya Yonder (RU), Dmitry Evgrafov (RU) - were invited to support the EP with series of remixes on its key track.

3 in the PERIKLAS series comes from NICOLAS WIESE, a Berlin based electronic and audio-visual artist. "Unrelated" is available as handnumbered lim.ed. clear vinyl LP in silk-screened sleeve and download.

Born 1976, NICOLAS WIESE studied design, illustration sound art, philosophy and sociology and has since been working on various fields: his (audio-)visual art has been presented in galleries and at exhibitions in Teheran, Gent, London, Vienna, St. Louis, Istanbul, Madrid a.o. As musician / composer, he released a number of solo and collaborative albums under the [-Hyph-] moniker and his civilian name on labels like WALTER ULBRICHT SCHALLFOLIEN or CORVO RECORDS. WIESE's latest effort "Unrelated" contains seven new pieces, constructed from sonic elements of various compositions, audiovisual works, fragments, remixes and experiments from a time span of 6 years, drawn from different contexts and a wide range of international musicians and collaborators. WIESE's trademark working method is to combine complex sample-based layers with modulated feedback which is triggered by the samples, their overtones and harmonic properties. This playing technique, using the mixing board as a feedback-instrument, adds a special live feel to the meticulous musique concrète constructions based on the original acoustic source material.

Rich in details, "Unrelated" is a vital proof of WIESE's artistic skills and a highly entertaining concern, melting electro-acoustic, musique concrète and sampledelia!

* Arikon is a solo project of Berlin-based drummer & producer, Arik Hayut - half of doom-tech duo Gainstage with Pierce Warnecke. Loyal to the sonic concepts of Gainstage, Arikon presents The Prophet's Blood Is Boiling, a solo enterprise into deepest 'drum & drone'. Hypnotizing distorted polyrhythms puncture through shards of fragmented melodies, producing potent mixtures of desperate tin can banging, a panoramic sonic scope, and the bleakest of soundsystem nightmares. Across the album, Arikon deploys an arsenal of samples plus electronic, acoustic, and self-constructed percussion instruments, constructing eight powerful productions that manage to embody both brute force and delicate decay.

* Formerly active in Tel Aviv's leftfield experimental scene during the 90's, Hayut made Berlin his permanent home for working on his own projects while composing and performing music for off-theater and contemporary dance. In 2004, a severe health crisis initially threw Hayut into crisis, slowing down his activity to a standstill. However, the precarious process of his fortunate recovery contributed to Hayut involving himself more deeply with concepts of time, death, and decay.

* Inspired by the decadent still life paintings of the Flemish Baroque, the cover artwork for The Prophet's Blood Is Boiling comprises a bowl of decomposing fruit. Like the music, its aim is to illustrate the beauty and perfection of the decay process, whilst also referring to the West's hyper-capitalistic, technology-centric culture. In recent years a new form of 'digital life' has been born, whereby all data - regardless of its worth or importance - is mummified, reproduced, and distributed with no real disintegration or loss in quality. This new digital life is resulting in a sort of 'frozen death', ending the hitherto natural cycle of life.

* The songs on themselves are inspired by the 'beasts of holiness' - mythological monsters that appear   in the Hebrew bible and the Jewish apocrypha (non-canonical scriptures). There's the punching of bassy thuds out of an oceanic ambient swell throughout 'Tanin Gadol', named after the ancient water monster of Babylonian times. The dense net of fumbling scrapes and amp-busting hits of noise on 'Nahash Akalaton' similarly refer to a titular sea-snake monster, its tendrils lashing out of the speakers aggressively. These demons symbolize a force of evil equal in power, yet in direct opposition to the monotheistic deity of their time. They were therefore neither acknowledged nor canonized in much dominant scripture. Arikon invokes these demons across The Prophet's Blood Is Boiling, setting them loose across these gnarled noisy chambers of pummeling percussion and cracked sampled detritus.

Out-ER sub-label Pregnant Void is proud to announce the release of hi.mo's debut album Urtiis. Landing on double vinyl in June 2018, it is a fantastically absorbing showcase of the Italian's weird and wonderful fusion of various strains of sound from jazz to hip hop to classical. "The alteration of conventional musical patterns thrills me," says the artist who is classically trained in piano and uses that knowledge to play with rules, structures and forms. Influenced by IDM, African drums, jazz and the interplay of chords, rhythm and harmony, hi.mo infuses his electro-acoustic productions with found sound samples and analogue and digital tools. This is a spelling-binding and intimate album that is filled with invention, but never at the expense of the overall experience, which is beautiful and beguiling throughout.

As The Title Suggests, Joakim Recorded This New Album Last Year At Studio Venezia, The Installation/sculptural Ensemble/recording Studio Created By Xavier Veilhan For The Prestigious 2017 Venice Art Biennale. Built Inside The French Pavilion & Inspired By The Grotto-like Merzbau By Kurt Schwitters, Studio Venezia Had Dozens Of Artists Create And Record There Over The 6 Months Of The Biennale (from Chassol To Brian Eno, From Joakim To Sebastien Tellier), Invited By Xavier Veilhan Himself With The Help Of Co-curator Christian Marclay.

With An Impressive Collection Of Rare Instruments From Medieval Horns To Rare Modular Synths (baschet Crystals And Percussions, A Buchla, A Clavinet...), Studio Venezia Was An Amazing Creative Playground For The Adventurous Musician. Those Instruments Were Captured By A Team Of Sound Engineers In The Best Possible Way Thanks To Nigel Godrich's (beck, Radiohead...) Mobile Studio Loaded With State Of The Art Vintage Recording Gear.

Before Going There In May 2017, Joakim Examined The Instrument List And The Specific Context Of A Studio Open To The Public Within An International Contemporary Art Exhibition To Anticipate His Creative Process. Instead Of Drafting Compositions And Demos Ahead Of The Recording Session, He Decided To Have An in-situ' Approach By Creating A System Involving The Visitors Of The Studio In The Composition Phase. Joakim Asked Random Visitors Of The Pavilion To Pick A Word, A Letter (between A And G), Tap A Tempo And Sometimes Choose The Instruments That He Would Play For Each Piece. The Word Was Translated Into A Chord Using A Transcription Table Joakim Invented. Hence The Song Titles Made Of The Given Word Plus The Name And Origin Of The Contributor. The Music Was Then Mostly Improvised, Based On Those Chords, Scales And Tempi. The Recordings Were Then Taken Back To New York Where Joakim Made Some Light Editing And Mixed The Pieces.

In Terms Of Influences, Joakim Tried To Channel The Spirit Of Proto-ambient German Heroes Cluster, 60s And 70s Modal Jazz, Japanese Evocative Minimalism And Drone Composers' Hypnotic Transcendence.

One Can Hear The Studio Through These Recordings, Which Was The Point, To Use The Studio As An Instrument, Like The Kraut Rock Pioneers Did. You May Hear The Floor Cracking, People Talking Or Coughing, And The Peculiar Quality Of Music Recorded In A Large Space With Its Acoustic Properties, A Rare Occurrence When Everyone Is Now Working From Small Home Studios And Major Large Studios Are Closing Down. This Album Also Marks A Return For Joakim To His Musical Education As A Classically Trained Pianist As You Can Hear Him Improvise On The Piano ( arms', air', dream'), Fender Rhodes ( trust') Or Harpsichord ( absense').

Following The Release Of The Studio Venezia Sessions, Joakim Will Create A Live Performance Based On His Experience In Venice. The Premiere Of This New Solo Performance Is Commissioned By The Villa Medicis In Rome For Their Villa Aperta Festival Early June. More Shows Will Follow.

Shroom Gang No Beggin is a full length project presented over two sides; Tuesday and Wednesday.
Recorded live and mixed at Black Void Studios, London.
Couple man locked in a studio with some Shrooms and tunes... No Beggin.

Repress

Mono No Aware is the first compilation to be released on PAN, collating unreleased
ambient tracks from both new and existing PAN artists.
Featuring Jeff Witscher, Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, HVAD, Kareem Lotfy,
ADR, Mya Gomez, Sky H1, James K, Oli XL, Bill Kouligas, Flora Yin-Wong, Malibu, and AYYA,
the compilation moves through more traditional notions of what is called 'ambient', to
incorporating wider variations that fall under the term.
'Mono No Aware', 'the pathos of things', also translates as 'an empathy toward things', or
'a sensitivity to ephemera'. A term for the awareness of impermanence, or the transience
of things. A meditation on mortality and life's transience, ephemerality heightens the
appreciation of beauty and sensitivity to their passing. In investigating the passing
of time, the boundaries between memory and hallucination become blurred; between
fiction and reality. The movement of time transforms into an eternal present..

Following the widely acclaimed 3LP collection, Electronic Music from the Seventies and Eighties, Unseen Worlds has compiled a second, 2LP collection of favorite and unreleased Carl Stone works. Electronic Music from the Eighties and Ninetiespresents the soothing, hallucinatory side of Stone's slow-evolving, time-bending composition. While we can't always identify the source, we can hear that his sounds come from somewhere, and that there is a correct' or complete' version of them in theory, and so we can hear when they are being changed. What drives Stone's music is the flow that he draws out of those differences: the way an Indonesian gamelan morphs into a chorus built from one female vocalist over the course of Mae Yao''s twenty-three minutes, the surprise emergence of a Mozart chorus out of the synths and skip-glitches of Sonali,' or the slow, ambient evolution of Banteay Srey'. Woo Lae Oak,' issued in a single side edit for the first time, is an exception. Its samples - a tremolo string and a bottle being blown across the top like a flute - are simple in the extreme. Yet the Stone hallmark is clearly present, he locates the inherent emotional properties of the sounds - the tingling anticipation of the string and the calm nobility of the wind - and takes them into unexpected expressive territory.

- Gatefold LP jacket
- New liner notes from Tim Rutherford Johnson, Robin Rimbaud, and Carl Stone
- First time vinyl collection for some of Carl Stone's most beloved tracks from the 1980s and 1990s, and the first ever release in any format of Mae Yao'

Elektroliza is a series of club events formed by a group of dedicated electronic music enthusiasts in 2006. It is hosted by Ljubljana's Channel Zero, a legendary club that is part of the autonomous social centre Metelkova which used to be the Slovenian headquarters of the Yugoslav National Army.Filling a void in Slovenia's electronic dance scene, the night was a hit from the start and quickly grew into a diverse and successful series focusing on new and exciting electro, acid and dark techno.Elektroliza hosted many memorable DJ and live acts by performers/producers/pioneers coming out of international music incubators in Gothenburg, The Hague, Berlin and as far as Detroit. Even more importantly, it brought together producers and crews from the former Yugoslav republics of Slovenia, Croatia, Serbia and Macedonia. Inside the former Yugoslavian military barracks DJs and producers from Skopje to Ljubljana began bonding again through music, forming new friendships, starting new collaborations and dancing the night away... in 'Electro City Ljubljana'.This first double vinyl compilation of the Balkan Elektroliza family is a collection of our shared memories and visions of the future to come.

030303 are back once again and for the first time now with a split 7 inch containing two braindance tunes to your liking. Very limited... dont sleep!!

Official reissue of the first De Fabriek album originally self-released in 1982. A masterpiece of minimal experimental music. It has been remastered and includes a new artwork done by the band.

Limited edition of 300 copies. The digital download includes 2 songs that have been removed from the vinyl edition due to the actual lenght limits.

De Fabriek (The Factory) hails from the Dutch City of Zwolle and started in december 1977 as a collective project. Their goal was to do minimal experimental music and you could see this minimal thing in the products themselves - limited handmade copies with special packages. They have been for years experimenting with music and creating different soundscapes, not involving with any stream, wave, or trend what so ever.

First time on vinyl reissue (previously CD only) of Mark Van Hoen's 1998 masterpiece presented on a deluxe 2LP. Playing With Time perfectly showcases the lush and deep environments that can only arise from Van Hoen (Locust, Scala, Seefeel). Melody Maker called it "A Mesh Of Loveliness". The Sunday Telegraph described it as "The perfect, spacey chill-out album", and The Sunday Times had this to say: "A sound that at it's best has a positively spiritual quality about it". Other accolades include Sleazenation - "At the cutting Edge" Computer Music "A melange of jerky, cut-up sounds, stretched out ambience... that owes more to Far-Eastern music than to Steve Reich". And lastly, HiFi World felt "The sound scape is so deep and diverse that it's accessible to anybody into laidback beats and soothing, beautiful noise". Contains a side long bonus track best described as a modal Eno-style classical ambient piece that was originally intended as a 'hidden' track at the end of the original 1999 CD release.

Christina Vantzou and John Also Bennett's musical interpretation of Thoughts of a Dot as it Travels a Surface, a 90m panoramic wall drawing by Zin Taylor, is a beautiful electro-acoustic meditation on the passage of time. It was recorded live at Westfälischer Kunstverein in Münster, Germany,
May 6th, 2017, and now finds its way onto vinyl and digital formats via the supremely keen-eared Shelter Press.
Following their co-work on her No. 3 album, Christina Vantzou brings a wealth of experience working between auditory and visual mediums to John Also Bennett's synthesized and acoustic sound sensitivities, which have recently applied to his action in the Forma trio and a compilation of Pauline Anna Strom's amazing Trans-Millenia Music for RVNG Intl, with a purposefully slow and immersive flow of acoustic piano and flute wrapped up in remarkably plasmic, spatially detailed synth contours.
In 10 parts, thru a combination of literal track titles and abstracted allegorical inference, they describe the movement and feelings evinced by Zin Taylor's massive tableaux, variously transposing his imagery of Cactus with Vent into webs of crystalline harmonics that acquiesce to brownian motion, or, as with the transition of Alfred Hitchcock Haze to Rock House With Door, a vividly synaesthetic transcription of figurative drawing to brooding, doomily Lynchian sound that brings to mind a wealth of captivatingly dank and alien imagery.
The package includes a miniaturised print of Zin Taylor's Thoughts of a Dot as it Travels a Surface
to peruse while you listen, so that you, like Christina and Bennett, can also make your own interpretation, and see how far their sonic translation differs with your own. Or then again, you could ignore it entirely and let yourself drift inside their modestly subtle, free-formed dimensions without the cues. Either way, you're in for a beautiful, open-ended and unpredictable trip.

If ever a phonographic accomplishment could encapsulate the precise modus operandi of the Cacophonic label, then the Expériences Musicales sessions made by French born painter, sculptor, music maker, wine merchant and founder of the Art Brut movement Jean Dubuffet would be a prime candidate.
Originally released as an impossibly rare six record box set containing Dubuffet's first long anticipated forays into sound sculpture and spontaneous artistic noise, these intimate early 1960's recordings show a lesser- known side of this important artist's personality. From an original gallery promoted artefact (which can now command fees of up to 5000 Euros complete with its original art-prints intact) this highlighted version ofExpériences Musicales is now available again on authentic vinyl to the wider public.
Finally released to a wider audience and presented complete with Dubuffet's signature style artwork, this abridged vinyl edition includes specific selections curated by the artist himself, in conjunction with experimental music pioneer Ilhan Mimaroglu.

Second repress of this seminal work from Kiyoko aka Synkro and Bering Straight.

Kiyoko is Synkro and Bering Strait. Following on from their sublime debut LP 'Sea Of Trees' for ASC's Auxilliary label, Kiyoko were approached to contribute to the Horo series in an effort to take it even further outside the constraints of any bpm or musical genre. The resulting 4 track EP is akin to having your mind soaked in honey while you float on top of clouds in the kind of dream you never want to wake from. With titles removed to allow your mind to associate your own mental images to each track, Kiyoko takes Synkro's genius touch with soaring emotions and spreads them evenly into a gentle soothing melancholy that few electronic musicians are capable of. Marbled vinyl 10 only.

Christopher Chaplin returns with a new solo album featuring voices and vocals by renown musician, poet and artist Leslie Winer and Nathan Vale , the British classical tenor vocalist. The longplayer translates John Milton's poem about the descent to hell of fallen angels into epic soundscapes!

"Paradise Lost' is the second album by London-based musician and composer Christopher James Chaplin. Following 'Je suis le Ténébreux' (2016), 'Paradise Lost' condenses experimental electronics into a chamber music setting, once again transporting us to intermediate mental and spatiotemporal states. This album features the voices of Nathan Vale and Leslie Winer. Vale is a British tenor and reciter, who specializes in baroque singing. The US musician, poet and artist Winer is almost his counterpart: Jean-Paul Gaultier described her as the first androgynous model, and she has worked with Sinéad O'Connor, Grace Jones and Helmut Lang, among others. Whereas 'Je suis le Ténébreux' was an artistic interpretation of Gérard de Nerval's poem of the same name, and of the 'Enigma of Bologna', Christopher Chaplin's new album translates John Milton's poem about the descent to hell of fallen angels into epic soundscapes. Nothing is clearly structured - instead we find ourselves in a dreamlike state of limbo. Moments of turbulence transform into musical states that collapse, roam through space, or grow into complex structures. It is a music of dark shimmering poetry that thrives on its own ambiguity'